This channel features content from The Digital Cinema Society, a format agnostic educational cooperative dedicated to informing the entertainment industry about the integration of new technology with a particular emphasis on the tools used by Cinematographers, Cameras, Lenses, and Lighting.
A heart warming interaction. Thank you for the great interview! I'm still relying on Wave and gyros. Introducing pan motors might finally do it for me so I'm really looking forward to testing it out.
The Legend Himselve, Thank you, every time i bow to pick up my Rig/SLED, i say thank you for this master piece and amazing inovation thaat keep coming, happy 50th Birthday
What was workinf fine in v5.1 Cortex now scans full range if you test v5.4, they do not answer emails. Have they got any real clients with such support? 15000$ for this kind of support?
We're so sorry to read that you didn't receive the support you needed! Please call us directly at +1 323 465 6478 so we can either get your issues resolved (if they haven't already been).
@Dave Docimo yup. which is why i'm asking about it. Cost saving avenues galore. An M40 with ballast is around 20K anyway .... The REFLEX claims 6K output ... would love to see it in operation.
Fiilex should be a household name for everyone in lighting, they’re really pushing technology in the LED space. Can’t wait to get my hands on one some day for my shoots.
It’s a “wish list of everything filmmakers want”. Where is the interval mode? Even their C200 can shoot timelapse. I think it’s a big mistake not giving this camera timelapse capabilities.
This is a dream come true, I only know about ACES just recently, what I didn't quite understand is, would ACES be a software to download or a hardware that one can buy and connect it to cameras, I went to the website but seems confusing and a bit hard for me to comprehend, regards.
Yes, there is software of sorts in the form of a variety of Interchange Formats such as Input Transforms for different cameras you may be using, and Output Transforms to basically get everyone on the same page in regard to color no matter what system you're using, (as long as that manufacturer is working with ACES, and most are). To find out more, I would suggest you check out ACEScentral.com, a Filmmaker’s portal to all things ACES that was set up recently by the Academy. There are discussion forums with dozens of experienced members who check the boards regularly and have pledged to help new ACES users get started, as well as ACES Partners to offer guidance about how ACES plays with their products. Check it out at: www.ACESCentral.com Best, James Mathers
Thanks for your question. Basically ACES is a way of approaching color and file management in your production and post production workflows. It is comprised of a set of SMPTE standards, best practices (when encoding, handling and viewing files) and sophisticated color science to help ensure that your project will maintain the highest color fidelity (and color consistency) possible, given the limits of the original source material. Typically, you encode into the ACES color space using software that already has the ACES color science 'build it' (i.e. it's a 'pull down' in the menu) and then you make sure to keep the material in ACES until you create your final deliverables. There a many benefits to ACES and you can find out more on ACEScentral.com. There are also links there to the AcademyACES RU-vid channel. I encourage you to follow Jim's suggestion and sign up at ACEScentral.com (it's free), read a couple of the posts that are relevant for your situation and feel free to post questions, there are lots of people that can help you get started. Steve Tobenkin Marketing/Adoption Lead - ACES you can reach me on ACEScentral.com !
Ryan Smith of K5600 presents their latest HMI fixtures as part of the Digital Cinema Society's 2016 Cinema Lighting Expo held February 20th at the IATSE Local 80 stage in Burbank, CA.
